[Li Xijian] Activate the tourism aesthetic effect of intangible cultural heritage resources with cultural creativity
The protection and tourism utilization of intangible cultural heritage (hereinafter referred to as "intangible cultural heritage") is an important theoretical and practical proposition put forward in the development of my country's cultural industry.
It has even become the core strategy for promoting the sustainable development of tourism in the new era.
How to effectively utilize, activate and fully develop these intangible cultural heritage resources that carry the memory and spirit of the nation on the basis of scientifically protecting them is a comprehensive issue that requires in-depth discussion and solution by the academic community.
Based on this, the ideas and basic viewpoints put forward in this paper are: activating the tourism aesthetic effect of intangible cultural heritage resources with cultural creativity is undoubtedly an ecological and cultural strategy and path that can be actively tried and vigorously promoted in the context of strengthening the people-centered concept, meeting the public's consumption demand for a better leisure life, and vigorously promoting the tourism supply side.
Under the background of structural reforms and effectively improving the diverse aesthetic needs and supply quality of tourism consumption.
This concept not only fundamentally conforms to the noumenon connotation of tourism culture as a form of aesthetic experience, but also demonstrates and highlights the inherent cultural characteristics and essential provisions of intangible cultural heritage resources.
1.
Cultural creativity is a new driving force to activate the tourism utilization of intangible cultural heritage resources
As we all know, since the 18th National Congress of the Communist Party of China, the party and government have attached great importance to creative transformation and innovative development in our country's social transformation, and vigorously advocated and promoted cultural creativity as a major strategic choice and nation-building strategy for social progress.
Whether from the perspective of enhancing the country's image and cultural soft power, or from the perspective of promoting the role of cultural industries, the importance of cultural creativity has been proved by more and more remarkable facts of economic growth and social development.
To be precise, contemporary society has entered an era centered on experience economy, symbol economy, aesthetic economy and dream economy.
The reason why cultural creativity can constitute a new driving force to activate the tourism utilization of intangible cultural heritage resources is determined by its profound philosophical connotation and the diversified cultural attributes and functions of intangible cultural heritage resources.
From the perspective of the development of civilization, human creativity and creativity are the driving force for social development and progress, and are reflected in all aspects and fields of human practice.
The display of stone tools, myths and legends, painted pottery crafts and folk skills in the past modern era, to the scientific and technological inventions, literary and artistic creations, modern craft innovations and spatial landscape design in the civilized era, are all symbols and crystallization of human creation.
Compared with the production method of large machines in industrial society, contemporary mankind has entered the era of knowledge-based economic production, and in this era, the way of creating social wealth and realizing economic utility has also undergone more fundamental and rapid changes.
This is a new economic form that takes cultural and knowledge innovation as elements, integrates diverse cultures, integrates relevant disciplines, and uses different carriers for production and creation.
It relies more on informatization and digitalization that match post-industrial society., networked and medialized production and communication methods.
Promoting, condensing and focusing creation and production in the traditional sense into innovative discoveries of the core of cultural concepts and objects is cultural creativity in the era of knowledge economy.
It takes concepts and creativity as the focus and key of production, and the breadth, depth and density it touches have reached unprecedented levels.
It has become a huge power source for building an innovative country and improving the overall level of social development.
From this point of view, the so-called cultural creativity is a process of exploring the diverse value of cultural resources based on cultural concepts and injecting fresh cultural elements (concepts, emotions, and tastes) into products and services, making it a cultural symbol and symbol.
Intangible cultural heritage, as a living and rich resource body among human cultural relics, has huge space for creative development and utilization.
The reason is that it is a cultural existence that characterizes the blood, foundation and spirituality of national culture.
Its formation and development rely more on the cultural accumulation and atmosphere in historical, ethnic and regional spaces.
The rich cultural representation symbols and humanistic thoughts in historical inheritance The generation of connotation gives intangible cultural heritage resources unique cultural quality and value, and provides the most basic soil conditions and inspiration source for cultural creativity, such as paper-cutting, embroidery, clay sculpture, These extremely folk intangible cultural heritage production such as Facebook can be passed down and continued from generation to generation precisely because of the inheritors 'adherence to a belief and spirit.
As the art world pointed out in evaluating the paper-cutting works of Ku Shulan, a master of intangible cultural heritage, although her paper-cutting creation is an image portrayal of real life, it retains the practicality and purity inherent in original art, and it presents a kind of society.
A vein of diverse cultures.
This is actually the most appropriate summary of intangible cultural heritage culture.
As a living cultural relic, intangible cultural heritage resources have a high degree of compatibility and isomorphism with human life and survival.
To maintain the life spirit of this culture, we need to continuously give them new connotations and forms through creativity to adapt to social changes and changes in people's aesthetic needs.
Just as human life activities need to be constantly changed and updated, the vitality of intangible cultural heritage resources also lies in their constant activation.
2.
Use aesthetic creativity to enhance the compound value effectiveness of intangible cultural heritage tourism aesthetics
For the cultural reproduction and utilization of intangible cultural heritage resources, using aesthetic creativity to enhance the compound value effectiveness of tourism aesthetics may be a practical strategy or path worth actively trying.
The reason lies in the experience provided by the cultural and creative industries in the past and their new understanding of the aesthetic attributes of tourism.
Objectively speaking, although the understanding and classification of cultural and creative industries in different countries or regions are not consistent or even have their own characteristics, the affirmation of the core position of aesthetics and art in this system is common.
Japan regards cultural and creative industries as "perceptual industries." Taiwan defines cultural and creative industries as the core business of culture and art, and even proposes the industrial concept of "life aesthetics" to integrate the core knowledge of the life industry with creativity to provide in-depth experience and high-quality aesthetic industrial form, and by using the aesthetic creativity of life, it integrates creativity, design and traditional manufacturing to open up new business opportunities in existing industries, and then improves people's quality of life ①.
The so-called experience economy and aesthetic economy show the importance of aesthetic production in the era of knowledge economy.
Its aesthetic productivity has penetrated into many fields such as politics, economy, ecology, ethics, daily life and leisure, and has carried out various new structures through spatial expansion and cross-border integration.
As American scholar Postrel expressed in "The Economy of Aesthetics-32 Micro Observations on the Changes of American Society", today, aesthetics has become so important that in order to gain the favor of consumers, engineers, real estate developers, and managers are all re-examining aesthetic communication and aesthetic interest.
The 21st century is the era of aesthetic economy, and the distinctive symbol of the era of new aesthetic economy is the coexistence of diverse styles ①.
Therefore, aesthetic creativity has become a productive factor in the development of the cultural industry.
Since the 1970s, the development of tourism in developed countries has begun to make full use of folk culture and intangible cultural heritage resources, carefully create and build a unique aesthetic space with a strong sense of life and taste, and achieve significant social and economic effects.
For example, in the mid-1970s, South Korea established a national folk village in Yongin City, which integrates many functions such as residential buildings, folk customs, crafts, exhibitions, traditional art performances, intangible cultural heritage industry displays, health preservation, leisure, catering, shopping, and amusement., has greatly promoted the rapid development of tourism and has become a typical case of driving the growth of tourism benefits through folk customs and intangible cultural heritage resources, and has produced a positive social demonstration effect.
As the first large-scale tourist and cultural attraction in China integrating folk art, folk customs and ethnic architecture, the establishment and operation model of Shenzhen China Folk Culture Village is also based on making full use of the exploration and expansion of intangible cultural heritage resources and the diversified value of folk art, enhancing its humanistic identity and aesthetic experience functions, and maximizing the compound effect of space aesthetics.
It has become a vivid evidence of the early use of intangible cultural heritage and folk resources to activate the tourism market in China.
The above experience shows that since intangible cultural heritage and folk cultural resources are the historical accumulation and crystallization of national life, they not only retain the original ecology and authenticity of life, but also carry a nation's unique memories and beliefs.
They are a living cultural presentation and inheritance, easily arousing people's identification reactions and experiential acceptance, thus becoming a tourism resource with connotation, temperature and soul.
As the focus and direction of tourism development in the new era, the integration of culture and tourism is to guide cultural construction and tourism development with the people's better life.
The establishment of this concept not only affirms that tourism, as a way to cultivate one's character, has become an important indicator to measure the quality of people's living standards and happiness, but also constitutes meeting aesthetic consumption needs, stimulating economic development, promoting social harmony, and contributing to the entire economy.
An important driving mechanism and source of vitality into the structure.
Therefore, effective use of intangible cultural heritage resources, through aesthetic creativity and the construction of multiple aesthetic landscapes and spaces with the theme of "life aesthetics", to maximize the tourism aesthetic effect of intangible cultural heritage resources and demonstrate their compound aesthetic value and functions, has become a current A practical problem that urgently needs to be solved.
The basic thinking of this article is that the creative industry has a unique value chain, and improving the added value of the industry through creativity is the key.
This requires a high degree of integration of the aesthetic utilization of intangible cultural heritage resources with the implantation of new commercial formats, that is, promoting the organic integration of the aesthetic spatial layout and display of intangible cultural heritage resources with galleries, restaurants, cafes, bars, and living art shops.
Strengthening the development and application of content and brand services at both ends of the industrial chain is an important part of improving industrial competitiveness.
This requires making full use of the multi-dimensional attributes of intangible cultural heritage resources and developing and expanding the multi-dimensional performance and space of their tourism aesthetics.
For example, use the life attributes of intangible cultural heritage to show the multi-level space and taste of its life aesthetics; use the living attributes of intangible cultural heritage to explore the rich connotation of its aesthetic experience; use the technical attributes of intangible cultural heritage to demonstrate the unique value of its aesthetic design; Use the artistic attributes of intangible cultural heritage to highlight the emotional charm of its aesthetic expression; use the entertainment attributes of intangible cultural heritage to reflect the happy function of its aesthetic enjoyment.
If we can truly release the infinite power of aesthetic creativity and maximize the tourism aesthetic effect of intangible cultural heritage resources, it will become an expected vision for promoting the ecological development of tourism.